Janet Robinson

University of Colorado, Boulder, Film Studies, Faculty Member

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Janet Robinson is currently an Assistant Teaching Professor in Creative Minds@Libby Residential Academic Program and also teaches for the Cinema Studies department at the University of Colorado Boulder.
Address: Denver, United States

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Armando Marques-Guedes

UNL - New University of Lisbon

Rob S E A N Wilson

University of California, Santa Cruz

Kingsley Marshall

Falmouth University

Vincent Souladié

Université Toulouse II Jean Jaurès

martin rumsby

Sharon Kinoshita

University of California, Santa Cruz

Daniel Selden

University of California, Santa Cruz

Carla Freccero

University of California, Santa Cruz

Eckart Otto

Ludwig-Maximilians-Universität München

Anna Kindermann

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Papers by Janet Robinson

Increasing Students' Cultural Sensitivity

Nurse Educator, 2000

Grief Responses, Coping Processes, and Social Support of Widows: Research With Roy's Model

Nursing Science Quarterly, 1995

This ex post facto descriptive correlational design study of widows during their second year of b... more This ex post facto descriptive correlational design study of widows during their second year of bereavement utilizes Roy&#39;s adaptation model as a guiding framework. Contextual stimuli (social support, social network, income/education, spiritual beliefs) were related to the cognator function (coping process), which was related to adaptation outcome (grief response). Significant moderate positive relationships were found between social support and coping process, and between social network and coping process. A significant relationship was also found between coping process and grief response. The path model accounted for 18% explained variance.

Introduction to the Double Life of Elizabeth Bathory/Erzsébet Báthory

Scarecrow Press, 2013

Dracula's Daughters: The Female Vampire on Film “Your Tale Merely Confirms that Women are Mad and... more

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robinsonCRASH.pdf

Palgrave McMillan , 2012

Screening the Dark Side of Love: From Euro-Horror to American Cinema Chapter 2: Reimagining Cens... more

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Cha Ching! Getting Paid in Breakfast at Tiffany's and Showtime's Gigolos

Selling Sex on Screen: From Weimar Cinema to Zombie Porn, 2015

The evocation of the Pygmalion narrative trope of female transformation is as problematic in toda... more The evocation of the Pygmalion narrative trope of female transformation is as problematic in today's media as it was in the early 1960s when the glamorous Breakfast at Tiffany's (1961) was first released. There are two approaches I will use to explain how deceptive the representation of selling sex on screen is, both in Edward's classic tale as well as in contemporary cable reality TV. First, this chapter will compare Truman Capote's original novella of Breakfast at Tiffany's with the film, and how it was significantly altered to fit the demands of the Hollywood Production Code 1. The originally homosexual narrator was not only straightened out, but also transformed into a heterosexual love interest for Holly, the iconic siren, made famous by Audrey Hepburn in her star role. Although Holly's heritage in rural Texas stays obscure for the majority of the film and leads ultimately to a surprising revelation, her true calling, being a call girl, has been embellished in the filmic adaptation to the screen. However, more interestingly, the (altered) male narrator also works as a gigolo, pursuing the same profession as Holly. This misrepresentation of men who are paid for sex is the most obvious parallel trope to the reality show, Gigolos. The overall intent of my chapter is to offer this unlikely comparison between the Classical Hollywood film and the Cable Showtime After Hours series, by studying the significance of commodity exchange value of bodies, sex, and youth aligned with money.

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CH 9_Robinson.pdf

The evocation of the Pygmalion narrative trope of female transformation is as problematic in toda... more The evocation of the Pygmalion narrative trope of female transformation is as problematic in today's media as it was in the early 1960s when the glamorous Breakfast at Tiffany's (1961) was first released. There are two approaches I will use to explain how deceptive the representation of selling sex on screen is, both in Edward's classic tale as well as in contemporary cable reality TV. First, this chapter will compare Truman Capote's original novella of Breakfast at Tiffany's with the film, and how it was significantly altered to fit the demands of the Hollywood Production Code 1 . The originally homosexual narrator was not only straightened out, but also transformed into a heterosexual love interest for Holly, the iconic siren, made famous by Audrey Hepburn in her star role. Although Holly's heritage in rural Texas stays obscure for the majority of the film and leads ultimately to a surprising revelation, her true calling, being a call girl, has been embellished in the filmic adaptation to the screen. However, more interestingly, the (altered) male narrator also works as a gigolo, pursuing the same profession as Holly.

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The Gendered Geometry of War in Kathryn Bigelow's The Hurt Locker (2008)

Interestingly, the cinematic use of the war hero as an overarching symbol of American identity wi... more Interestingly, the cinematic use of the war hero as an overarching symbol of American identity within the cultural zeitgeist remains as true for The Hurt Locker as for any production of the war film genre. The absence of the hero is represented by the presence of the female body reincarnated as a bomb capable of scarring the earth with burning craters and exploding the bodies of men into nothingness, so much so that the American military’s creed that no man will be left behind2 becomes a literal impossibility. The framework of this symbolic dynamic transcends biological function and additionally represents the female body as the cultural construct of the creation of the nuclear family, a central and significant component of the American Dream. In other words, The Hurt Locker’s circular imagery has a greater meaning— when the power of the phallic weapon has been usurped by the über-powerful, and arguably gendered IED (Improvised Explosive Devise), the man himself loses value and the consequence is fatal, literally and figuratively: for if man cannot assume his place as husband and father, then the social contract of the American family and the American Dream is void.

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Increasing Students' Cultural Sensitivity

Nurse Educator, 2000

Grief Responses, Coping Processes, and Social Support of Widows: Research With Roy's Model

Nursing Science Quarterly, 1995

Introduction to the Double Life of Elizabeth Bathory/Erzsébet Báthory

Scarecrow Press, 2013

Dracula's Daughters: The Female Vampire on Film “Your Tale Merely Confirms that Women are Mad and... more

Download

robinsonCRASH.pdf

Palgrave McMillan , 2012

Screening the Dark Side of Love: From Euro-Horror to American Cinema Chapter 2: Reimagining Cens... more

Download

Cha Ching! Getting Paid in Breakfast at Tiffany's and Showtime's Gigolos

Selling Sex on Screen: From Weimar Cinema to Zombie Porn, 2015

Download

CH 9_Robinson.pdf

The evocation of the Pygmalion narrative trope of female transformation is as problematic in toda... more The evocation of the Pygmalion narrative trope of female transformation is as problematic in today's media as it was in the early 1960s when the glamorous Breakfast at Tiffany's (1961) was first released. There are two approaches I will use to explain how deceptive the representation of selling sex on screen is, both in Edward's classic tale as well as in contemporary cable reality TV. First, this chapter will compare Truman Capote's original novella of Breakfast at Tiffany's with the film, and how it was significantly altered to fit the demands of the Hollywood Production Code 1 . The originally homosexual narrator was not only straightened out, but also transformed into a heterosexual love interest for Holly, the iconic siren, made famous by Audrey Hepburn in her star role. Although Holly's heritage in rural Texas stays obscure for the majority of the film and leads ultimately to a surprising revelation, her true calling, being a call girl, has been embellished in the filmic adaptation to the screen. However, more interestingly, the (altered) male narrator also works as a gigolo, pursuing the same profession as Holly.

Download

The Gendered Geometry of War in Kathryn Bigelow's The Hurt Locker (2008)

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Janet Robinson

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